Zot! wrote:My Bresson theory is but a distant memory, but I thought he specifically went to no lengths at all to influence his "models". Hence my snide comment.

Bresson would not give specific comments on how anyone performed in a take, and would instead ask for many takes (not to mention a *lot* of rehearsal before filming even commences). To equate that to not trying to influence the players in his films would be misguided, imo. The repetition of takes in itself is an influence (Kubrick used similar tactics). Repetition of a performance tends to drain emotion, but the emotion isn't necessarily gone (I've always seen it as internalized).

As well, to watch a Bresson film, specifically for performances from actors (or "models", whatever your semantic preference), it would be hard to believe that those performances would be the same from a different director. The consistency in the performance styles throughout Bresson films strongly point to Bresson being the universal factor.

I read it ages ago. I think Bresson himself said this in an interview. But I can't find a reference at the moment.

I'm not saying you're wrong, because I don't know, but doesn't that seem like a huge deal that people would remember and mention all the time in discussion with this film, given its animal lover fan base? This just seems pretty unlikely

In all seriousness though treatment of animals has always been pretty bad in films and we all know that. I know a guy who worked on Heaven's Gate and he tells a horror story about how Cimino blew up a horse on set. Given filmmakers treatment of animals in film around that time (And right up to the eighties.) I can't imagine that if the donkey did die it would have made much of a stir at the time correct?

Michael Kerpan wrote:As I recall, Bresson was apologetic, saying the dose had been miscalculated. Maybe I hallucinated this -- but I don't _think_ so. (The context was a discussion of how that final scene was done)....

Well, let us know if you ever find the interview. Was it in print or a filmed interview?

While browsing at a book store last night, I came upon Bresson on Bresson: Interviews, 1943 - 1983 which has multiple chapters where Bresson discusses the making of Au hasard Balthazar. The director noted that he wanted the donkey to appear as natural as possible and not "trained" to behave in a certain way. Since the donkey would have to undergo some kind of training to perform in the circus scenes, Bresson claimed in two separate interviews that he shot everything else in the film first then sent the donkey off for two months of training before shooting the scenes at the circus. Given this schedule, the donkey's "death" scene would not have been the last footage shot, which contradicts the notion of the animal's accidental death by drugging. Bresson's only comment in the book regarding the death scene was that he had trepidation about successfully realizing the scene since he was working with an animal who proved to not be all that cooperative.

Roger Ryan wrote:While browsing at a book store last night, I came upon Bresson on Bresson: Interviews, 1943 - 1983 which has multiple chapters where Bresson discusses the making of Au hasard Balthazar. The director noted that he wanted the donkey to appear as natural as possible and not "trained" to behave in a certain way. Since the donkey would have to undergo some kind of training to perform in the circus scenes, Bresson claimed in two separate interviews that he shot everything else in the film first then sent the donkey off for two months of training before shooting the scenes at the circus. Given this schedule, the donkey's "death" scene would not have been the last footage shot, which contradicts the notion of the animal's accidental death by drugging. Bresson's only comment in the book regarding the death scene was that he had trepidation about successfully realizing the scene since he was working with an animal who proved to not be all that cooperative.

I think you've solved it. Thank you -- I can now watch the film and be manageably sad at the end, and not crushingly so.

Roger Ryan wrote:The director noted that he wanted the donkey to appear as natural as possible and not "trained" to behave in a certain way. Since the donkey would have to undergo some kind of training to perform in the circus scenes....

Donkeys are actually intelligent animals despite their reputation. They don't have the tendency to panic like horses and instead just sort of freeze when scared and as such have a reputation for being stubborn. An untrained animal would look far more natural but it would also have a tendency to not give a shit (This is of course an obvious statement.) about whatever Bresson wanted. I imagine the set was rather lively at times because of this. You haven't lived until you've seen an obstinate donkey.